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Introduction

Boccherini’s vocal music is sparse, comprising just one Mass setting (now lost), two oratorios, a handful of single Mass movements, a few motets, one opera and three cantatas. So his setting, in 1781, for solo soprano and strings of the Stabat mater text might seem somewhat surprising. For its genesis, and for its subsequent revision in 1800 for two sopranos and a tenor, we must look back to the unique popularity enjoyed by Pergolesi’s 1736 setting of the same text, which became the most published and most imitated single work of the century. It appeared in many adaptations: even Bach copied it for Tilge, Höchster, meine Sünden. The circumstances of Pergolesi’s death, dying tragically during his mid-twenties after becoming the most sought-after composer of opera of his generation, helped him and his (alleged) last work achieve legendary status.

The influence of Pergolesi on Boccherini’s setting of the Stabat mater, the sequence for the Feast of Seven Dolours of the Blessed Virgin Mary, is abundantly clear. Like Pergolesi, Boccherini chooses the melancholy key of F minor and a bittersweet mood of tender supplication, juxtaposed with vocal writing that would more normally be associated with opera. The same sighing appoggiaturas and advanced harmony that made Pergolesi’s work so forward-looking for its time are still present: even the famous Pergolesi walking bass is heard at the opening of the final section.

Throughout Boccherini’s remarkable succession of solos, duets and trios there is a constant flow of invention. Here is writing of extraordinary individuality from a composer, nearing the end of his life, setting one of the most poignant of all sacred texts with an open Christian conviction that comes straight from the heart. The opening, large-scale movement mixes string writing of startling, anguished textures (also showing Boccherini’s fastidious eye for expressive detail) with ravishing vocal melancholy. The gentle ‘Cuius animam’, still gloriously bittersweet, is interrupted at its conclusion by the second soprano, setting up the melodic ‘Quae maerebat’. A winding violin melody introduces the accompagnato-like ‘Quis est homo’ and a tender ‘Pro peccatis suae gentis’, in which Jesus gives up his spirit with exquisite, gentle simplicity. The ‘Eia mater, fons amoris’ is particularly striking, the instrumental prelude coloured by Boccherini’s favoured cello playing in its rich treble tessitura, the sopranos eloquently and operatically duetting.

The busy vocal trio ‘Tui nati vulnerati’ is introduced by active string figurations, scales flying, with contrast supplied by a slow, veiled middle section. ‘Virgo virginum praeclara’ is another masterpiece: the instrumental texture of solo violin, accompanied by pizzicato cello, viola countermelody and the second violin’s gently rocking figurations, creates a rich cushion of sound for a ravishing soprano melody. The second soprano’s ‘Fac ut portem’ is lyrical in its gentle rocking 6/8 rhythm, followed by the total contrast of the aggressive, triumphant trio ‘Fac me plagis’. For ‘Quando corpus’ such operatic devices are forgotten: Pergolesi’s bass returns in a mood of total submission—all passion has been spent. The bells of paradise gently chime in the violins, and the work closes with Boccherini’s serene picture of the world to come. This extraordinary, neglected masterpiece is surely one of the most remarkable sacred compositions of the era.

Recordings

A recording of two extremely beautiful settings of the Stabat mater—the Astorga is better-known than the Boccherini, but if any recording proves that a piece should be neglected no longer, this must surely be it.» More

This album is not yet available for downloadSACDA67108Super-Audio CD — Deleted

A recording of two extremely beautiful settings of the Stabat mater—the Astorga is better-known than the Boccherini, but if any recording proves that a piece should be neglected no longer, this must surely be it.» More